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自唐玄宗称赏郑虔“三绝”以后,诗书画逐渐成了中国画中和谐统一不可或阙的组合,大画家往往兼有“三绝”的本领。从笔墨技法角度看,书画一理,所谓“书画异名而同体”(张彦远:《历代名画记》卷一);而从表现事物、抒写情感角度看,诗画有着更为密切的关系,古语有言:“诗是无形画,画是有形诗。”(张舜民:《跋百之诗画》)诗人作画,其品自高;画家作诗,其境人妙。潘天寿一身兼善诗画,诗画相互补充,双璧交辉,故而成了20世纪继吴昌硕之后成就最高的画家诗人。对于诗与画的关
Since the Tang Emperor Xuanzong said Zheng Qian “San Jue ” later, poetic calligraphy and painting gradually became the indispensable combination of harmony and unity in Chinese painting, large painters often both “three absolute ” ability. From the point of view of pen and ink techniques, painting and calligraphy has its own meaning, the so-called “painting and calligraphy is synonymous with the same body” (Zhang Yanyuan: “History of Famous Paintings” Volume I); from the perspective of expressing things and expressing emotions, poetry and painting are more closely related , The old saying goes: “Poetry is an invisible painting, painting is physical poetry. ” (Zhang Shunmin: “Postscript hundred poetry painting”) poet painting, its product self-esteem; Pan Tianshou is a good poem and painting, poetry complement each other, two-bi interchangeable, it became the twentieth Century following Wuchang Shuo highest achievement painter poet. For poetry and painting off